Dissertations / Theses on the topic 'Art and craft education'
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Wallace, Kyle S. "An Exploratory Study of Learning Journeys for Makers in the Fields of Art, Craft andDesign: An Investigation of the Blurred Boundaries between Art, Craft, and Design." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460024614.
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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).
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Johns, Melissa. "Tenacious Threads: Crazy Quilts as an Expressive Medium for Making Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/94.
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In this arts-based study, I will discuss using craft techniques such as crazy quilting in the creative process of making art. The paper describes the history of crazy quilts, a brief summary of artists who use quilts as a medium, and a description of how teaching craft-making skills in the classroom can encourage students to use them for art-making.
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Kontle, Bitha. "An investigation of the assessment of the continuous assessment portfolio component of art, craft and designs in Botswana junior secondary schools." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27349.
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In this study, I undertook to investigate how the requirements of formative and summative assessment influence the practices of teachers of art, craft and design in Botswana junior secondary schools (BJSS) in relation to the continuous assessment portfolio (CAP). I used qualitative research methods for data collection, mainly using in-depth interviews with individual teachers of art, craft and design. I also used grounded theory approach to interpret and analyse the collected data. The sample was chosen from different junior secondary schools near Gaborone, in Botswana. Interviewees had common qualification entry requirements while their experiences and backgrounds were different. The theoretical and conceptual frames underpinning the study are mainly Bourdieu's theory of practice and Lave and Wenger's theory of communities of practice. I focused my study on using these theoretical and conceptual frames to help describe the basis for the participants' choice in their judgements during their development of students' CAP. The outcome of this study makes claim that the teachers of art, craft and design who participated in the study clearly understood the requirements of the CAP. However, they chose to ignore these requirements due to the pressures originating from the tensions between formative assessment at school level and summative assessment at the level of the national examinations. These choices result in teachers undertaking activities which emphasize doing well in the national examinations rather than developing the students' skills for future use. This practice results from teachers' efforts to gain recognition for themselves and their schools as a result of outstanding national examination results. Good performance by their students in national examinations enhances their reputation as teachers and makes them eligible to be entrusted with national responsibilities such as being appointed moderators and examiners.
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De, Jong Connie J. "[Re]Focusing Global Gallery's Educational Programs: A Guide to Transforming Vision to Action for Fair Trade Organizations." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218547473.
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DIRKS, STEFANIE. "An Appalachian Arts Project: A New Model to Promote Communal Art Interaction." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211923981.
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Al-Boloushi, Laila. "The problems and prospects of incorporating a living craft tradition (Al-Sadu) inspired by Islamic geometric design into art higher education courses in Kuwait." Thesis, University of Exeter, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529275.
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Alvares, Sonia Carbonell. "Maragogipinho - as vozes do barro: práxis educativa em culturas populares." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-11052016-163601/.
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Este trabalho apresenta uma observação acurada do universo da cerâmica no povoado de Maragogipinho, Bahia. A pesquisa revela quem são os mestres e mestras do barro, dá a conhecer o seu processo criativo e educativo. Esses homens e mulheres são protagonistas do patrimônio cultural imaterial brasileiro, eles detêm e socializam conhecimentos que perpassam gerações, saberes tecidos em práticas de ensino não sistematizadas e nem legitimadas pelas culturas hegemônicas. A educação artesanal está fundada na ancestralidade, na repetição e na invenção, no constante diálogo entre a tradição e a emergência da modernidade: novas formas de criação e antigos segredos de ofício se misturam, numa tensão permanente entre transformação e conservação. O artesão e a artesã vivem o seu legado cultural e o mantêm vivo, reinventando-o e atualizando-o eternamente. Essa herança conserva a conexão com o passado, mas se reveste de novos símbolos e significados no presente para fortalecer a identidade dos autores e de suas comunidades, e para dar sentido ao futuro.This work presents an accurate observation of the pottery universe in the village of Maragogipinho, Bahia. The research reveals who are the masters of clay, makes known their creative and educational process. These men and women are protagonists of the brazilian intangible cultural heritage, they preserve and socialize knowledge across generations, originated in unsystematic practices, not legitimized by the hegemonic cultures. Craft Education is established on ancestry, on repetition and invention, in constant dialogue between tradition and the emergence of the modernity: new ways of creating and old trade secrets are mixed on a permanent tension between transformation and conservation. The craftsman lives his cultural legacy and keeps it alive reinventing and updating it forever. This heritage preserves the connection with the past, but acquires new symbols and meanings to strengthen the identity of the authors and their communities, and to make sense of the future.
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Simons, Jennifer. "Enhancing the use of professional craft knowledge in process drama teaching /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031014.145035/index.html.
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Thesis (Ed.D.) -- University of Western Sydney, 2002.A portfolio submitted in fulfilment of the requirements for the award of the degree of Doctor of Education, University of Western Sydney, November, 2002. Bibliography : leaves 134-137.
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MacDonald, Margaret. "Elwyn Richardson and The Early World of Art Education in New Zealand." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2010. http://hdl.handle.net/10092/5114.
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This study examines the work of Elwyn Stuart Richardson, director and teacher of Oruaiti School between 1949 and 1962, an experimental school in Northland, New Zealand and places it with the context of the history of art education in New Zealand. After documenting the historical and educational reform contexts of the first half of the twentieth century, Richardson’s philosophy of art education is framed through an analysis of moments of his early life, schooling and teaching experiences.
Richardson (1925-) is best known for his book In the Early World published by the New Zealand Council of Educational Research in 1964. The book describes his work as a teacher at Oruaiti and highlights his pedagogical belief that the most powerful learning arises out of children’s own lives and experiences, that learning through the arts raises students’ potential for self-knowledge, critical discernment, imagination, understanding, awareness and empathy for others, and that the arts have an important role to play in the fostering of community and social reform.
The administration of art and craft education in the New Zealand primary school during Richardson’s years at Oruaiti was shaped by early advances in manual and technical education. The development of these reforms and the varied educational doctrines school officials used to advocate for the inclusion of these subjects in the curriculum are examined from 1885 to 1920. As well, significant educational policies and events in the 1920s provided exposure to progressive education ideology from abroad. These initiatives contributed to the great interest in child art which grew out of the New Education movement of the 1930s. New ideas about the development of artistic ability in children led to innovative policies in art and craft education that transformed teaching practices and the place of art and craft in New Zealand schools during the 1940s and 1950s. The newly formed Art and Craft Branch of the Department of Education in 1946 reorganised the administration of art education to change public perceptions of art, create contexts of art appreciation and develop community education in tandem with primary school art education.
Examining Richardson’s educational biography is another lens used to understand his philosophy and pedagogy. Oruaiti's status as an experimental school is explored through the unique relationship of Oruaiti School to the Art and Craft Branch of the Department of Education. Further, Richardson’s developing educational philosophy, in particular his ideas about artistic ability in children and the growth of aesthetic standards, is explored relative to the teaching practices of his day.
The study also uncovers the critical role that science played in Richardson’s educational pedagogy and curriculum and the profound influence Richardson’s early educative experiences were to have on the development of his educational philosophy. Locating Richardson’s work within its historical context demonstrates both that he worked in an environment which was hospitable to educational experimentation in the field of art and crafts, and that, on many levels, he transcended the educational practices of his times.
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Resayes, Mohammed. "Significance of the development and emergence of art and crafts museums in the kingdom of Saudi Arabia /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu148759996359037.
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Lentis, Marinella. "Art Education in American Indian Boarding Schools: Tool of Assimilation, Tool of Resistance." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203447.
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This dissertation examines the process of domestication of American Indian children in government-controlled schools through art education. At the end of the nineteenth century, Thomas J. Morgan, Commissioner of Indian Affairs (1889-1893), and Estelle Reel, Superintendent of Indian schools (1898-1910), brought changes to the curriculum of Indian schools by introducing the teaching of elementary art and instruction in "Native industries" such as pottery, weaving, and basketry. I claim that art education was as an instrument for the `colonization of consciousness,' that is, for the redefinition of Indigenous peoples' minds through the instilment of values and ideals of mainstream society and thus for the maintenance of a political, economic, social, and racial hierarchy. Art education served the needs of the late-nineteenth century assimilationist agenda. I consider Morgan's and Reel's national mandates at the turn of the twentieth century and examine their rationales for including drawing and Native crafts in the Indian schools' curriculum. This knowledge of educational programs crafted at the bureaucratic level is applied to an analysis of art instruction in two selected institutions, the Albuquerque Indian School in New Mexico and the Sherman Institute in Riverside, California, from 1889 to 1917. I examine local responses to government policies and daily practices of Indian education at the micro level in order to provide specific information as to the organization, structure, and pedagogy of art instruction within a school day in these particular localities. Finally, I discuss how students' artworks were displayed in the context of exhibitions and national conventions as exemplary evidence of the progress toward civilization, but also of the instrumentality of an Anglo education in reaching this goal. As Indian policy changed, so did the art curriculum of Indian schools; while drawing continued until the mid-1910s Native arts and crafts began to disappear and were eventually discontinued. As activities that promoted independence and individual creativity, they began to undermine the government's agenda. From the early 1890s when it was first introduced into Indian schools to the mid-1910s when it lost its significance, art education was a tool for the assertion of America's hegemonic power.
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Campbell, Charlynn Watson. "The Experiential Art and Crafts Preferences of Senior Adults: A Preparatory Assessment for the Implementation of the Project Senior Art Model." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1006.
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Project Senior Art was conceived in answer to the growing need for worthwhile directed activities in our community senior centers and to provide valuable community-based learning experiences for university art students. This intergenerational program recognizes the unique intellectual abilities of older adults and meets the educational needs of senior participants and college art students, providing both creative opportunities for personal growth. Fundamental to the successful development and implementation of the program, and the focus of this study, is ascertaining the experiential art and crafts preferences of the targeted senior adult population. Personal interviews, focus group discussions, and a survey instrument were used to secure the information necessary to plan experiential art activities, recruit student facilitators, and provide the core course content. A high interest in traditional and nontraditional art activities was expressed, with senior adults citing photography, painting, and memory book making as the most preferred media.
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Holmberg, Annelie. "Hantverksskicklighet och kreativitet : Kontinuitet och förändring i en lokal textillärarutbildning 1955-2001." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9530.
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The aim in this study is to investigate how the textile subjects in the education of teachers in textiles in Uppsala changed during the period 1955-2001. What has the introduction into the academic, scientific tradition meant for the textile education? The aim is to describe what developments occurred as a result of this influence on the subject area, by analyzing the causes and factors inherent in this process. The period under consideration has been divided into four parts: 1955–1961, 1961–1977, 1977–1988 and 1988–2001. The research uses three different sources: documents, interviews and artefacts. The documents include both national and local aspects. To increase the understanding of the work and education 9 interviews have been made with current teacher educators. The artefacts show the transformation of the educators’ intentions and aims, which are expressed in the documents examined, into a physical entity by the students. In the investigation of what changes the concept of practical knowledge will be used. Practical knowledge is considered to form the core of textile education. Practical knowledge is assumed to consist of action, professional knowledge and reflection. Government directives have influenced textile education. Economical and structural assumptions have shaped how the courses have been run and what elements have been included in these. In the change that gradually occurred during the investigated time, the inherent pride in the subject area and the traditions linked to the courses seems to have slowly diminished. The redefinition of textile education as part of the university minimized the value of the education’s core based in action and domestic history. The continued production of artefacts within the course, suggests that despite the use of scientific and research terminology, the manual skills and action were seen as an essential part of the education.
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Howell, Amy Beth. "Line, Space and Plane." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1259177315.
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Spanier, Gail. "Maps, metaphor and memory : a personal investigation through image manipulation and textile embellishment." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/350.
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This exegesis supports the artist-researcher's Creative Arts Project, which explores how personal memories and reflection on family history and narratives can be used as resources for image making. The exegesis underscores the essentialness of Efland' s (1990) Expressive Psychoanalytic model as a conceptual framework in visual arts education,as well as reviewing associated literature about memory and semiotics, and the role of Images in reconstructing self-realization, identity and social history. The artist-researcher also links Efland's model to Gardner's (1996) Inter and Intra Personal Intelligences. The artist-researcher introduces the work of influential artists in Australia, Canadian , and other overseas artists who also work in the field of textile design with personal and family history themes. However, specifically the exegesis, positions the artist-researcher's Creative Arts Project and major exhibition.
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Uline-Olmstead, Molly Louise. "THE KNITTED FLOWER PROJECT: ARTS-BASED RESEARCH WITHIN KNITTING COMMUNITIES." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245270376.
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Barmby, James Thomas. "The art and craft of university coordination." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45690.
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The purpose of this study is to understand the apparent acquiescence of senior officials at Alberta’s universities to legislation that might pose a threat to their institutions’ autonomy. In 1975 the Alberta government under the leadership of Premier Peter Lougheed attempted to introduce a mechanism for coordinating university programs in the Adult Education Act by placing Alberta’s four universities against their will within a system of provincial public post-secondary institutions. The 1975 Act failed to receive third reading due to successful lobbying efforts, yet in 2003 Lougheed's vision was finally realized with the passage of the Post-Secondary Learning Act (PSLA), which enlisted Alberta’s four universities without resistance as members of a provincial system that coordinates post-secondary programming.
A historical analysis, this study was framed within the dimensions of Wenger’s Communities of Practice model to analyze the interaction and trust between and among senior university and government officials in their attempts to find agreement on matters concerning the coordination of university programming. The study found that, only where there was evidence of all three dimensions of the Communities of Practice model, was there mutual trust as well as agreement by the university officials on government initiatives regarding the coordination of university programming. The main conclusion of the study is that university officials responded well to the program coordination concerns of the provincial government when the university officials, treated as equals to their government counterparts rather than as agents of government policy, were given the opportunity to participate in the development of the program coordination legislation and policies in conjunction with government officials.
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Hein, Dawn Michelle. "The art and craft of the interior." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1209805.
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This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered.Department of Architecture
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Isbister, Vianna. "The Art and Craft of Aerial Dance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/558.
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The Art and Craft of Aerial Dance discusses my personal experiences training and performing aerial dance, along with my study of safe practices in aerial rigging. My journey as a Theatre and Dance Honors-In-Discipline Scholar at East Tennessee State University from 2016-2020, culminated with my senior thesis capstone performance at Azure Aerial Arts on Friday, December 6th, 2019. This exploration into the world of aerial dance began in the spring of 2017 and has not ceased. If anything, the drive and motivation to continue pushing forward despite many obstacles continues to grow and manifest itself into new forms in my life. This drive, and my work as an intern with Night Owl Circus Arts (NOCA) at Azure Aerial Arts over the summer of 2019, propelled me to choose this topic as my final thesis because of all of my accomplishments at ETSU, this is one that I hold nearest and dearest to my heart.
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Sollevi, Anna. "Craft Reality." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5835.
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CRAFT REALITY Handicra vs. Digital technology A mashup with the aim to unify and to expand. A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web. A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old: Maybe it can be both.
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Jagell, Elisabet. "Förebilder i slöjd : en undersökning om vem som kan ses som förebild i nutida pedagogisk slöjd." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352379.
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Uppsatsens frågeställning är vilka formgivare, konsthantverkare, hantverkare, slöjdare eller andra personer skulle kunna ses som förebilder i pedagogisk slöjd i en nutida kontext. Metoden för att undersöka frågan var en webbenkät riktad till ett urval av grupper som berörs av slöjd på olika sätt. Den vanligaste förebilden bland mina respondenter visade sig vara en svensk man som är släkting. På andra och tredje plats kom två etablerade och, i slöjdkretsar, kända professionella slöjdare; Jögge Surolle Sundqvist och Beth Moen. Respondenterna beskriver sina slöjdförebilder som kreativa, nyfikna och generösa. Bristen på kända förebilder inom slöjd kan i hög grad påverka den pedagogiska slöjdens status och ställning. Ett större fokus på att lyfta fram en bredd av förbilder för slöjd i undervisningen skulle kunna öppna upp för förbättrade möjligheter att arbeta mot det grundskolans kursplan i slöjd tar upp.The essay's question is what designers, artisans, craftsmen, people working with sloyd or other people could be seen as role models in educational sloyd in a contemporary context. The method of investigating the issue was a web survey targeted at a selection of groups related to sloyd. The most common model among my respondents turned out to be a Swedish man who is a relative. Second and third place came two well-known professional craftsmen; Jögge Surolle Sundqvist and Beth Moen. Respondents describe their role models as creative, curious and generous. The lack of known models in sloyd can greatly affect the status and position of the educational sloyd. More focus on highlighting a width of rolemodels in sloyd teaching could open up for improved opportunities to work according to the elementary school's curriculum in sloyd.
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Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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Astfalck, Jivan. "Narrative structures in body-related craft objects." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.
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Bin, Khairani Mohd Zahuri. "Contemporary art, craft and hybridity : Malaysian encounters and responses." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19907/.
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This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia.
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Boismenu, Nicholas. "Indirect Measure." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3351.
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This paper is in support of my thesis exhibition “Indirect Measure” May 5th – June 3rd 2017, at the Reece Museum, located on the campus of East Tennessee State University. This document is an account of my examination into what constitutes art and the change in my perception of the utilitarian ceramic vessel during my research into the perceived difference between craft and art. Using broad definitions, I define what I believe art to be and how it is different from, and the same as craft.
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Josephson, Codi Lea. "Mama said sew: stitched samplers, contemporary art and domestic craft." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/827.
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My interest in the history of craft as it relates to women and craft in the context of contemporary art led to a more specific personal curiosity about colonial stitched samplers. The incredible skill and patience young colonial stitchers exhibited, layered with the revelatory nature of stitched samplers, sparked a desire to understand them more thoroughly. This thesis is a hybrid product that includes both writing and research about my interest in colonial stitched samplers, craft and contemporary art, as well as ongoing work on three stitched samplers inspired by both colonial schoolgirl samplers and contemporary artists whose work builds upon the tradition of the stitched sampler.
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Liguori, Samantha. "Stingray : an exploration into the art and craft of playwriting." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/579.
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Cloud Nine by Carol Churchill is a good example of non-linear play structure. Episodic plays are part of an even more disjointed time structure. There are both many different locations and characters in an episodic play; it is similar to a film script for that matter. Onstage, this was a revolution; how can a person be in one city and then the next shortly after? This was the rule of continuity that episodic structure broke. Bertolt Brecht did this throughout his movement in epic theatre, and traces of this structure can also be found as early back as Medieval plays. Therein lays the problem. If there are so many different way to write a play, how is it possible to just pick one? How does one even decide? There are many texts on playwriting that all say something different. In the end, the way you format a play script is decided by the structure in which you are writing your script, whether it be linear, non-linear, and episodic structures. This is an exploration to research possible methods of playwriting in the English language, choose a format, and create a story, ultimately forming a universally acceptable play script for a one-act production. Through my process, I researched various elements about play structure. I researched various types of formatting options found throughout texts, and the formatting options found in different publications of plays. I also researched the options of different software programs I could use to format my play. In regards to the show's content itself, I researched the personality disorders of my main character, John, in order to ensure I am staying accurate to the realistic expectations of the disorder. The possible disorders that might influence John included Bi-Polar disorder, Autism, Alzheimer's, or Narcissistic Personality Disorder. These disorders fit the characteristics of John and further research led me to finally adopt Autism as the end result.; David Ball's Backwards and Forwards: A Technical Manual for Reading Plays, Rosemary Ingham's From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images, and Cal Printer and Scott E. Walter's Introduction to Play Analysis aided in ensuring the translation from the script to the stage works together fluidly. By understanding how the play will be analyzed, the potential flaws with the work can be identified before it is put in front of an audience, publisher, or director. A writer needs to know why they made certain choices with both script and character. When a writer can analyze how their script can be perceived, they can create a more solid structure. It also is useful to utilize available play scripts in order to understand the conventions through example. Works that were useful included: Proof by David Auburn, The Glass Menagerie by Tennessee Williams, Equus by Peter Shaffer, The Cherry Orchard by Anton Chekhov, The Vagina Monologues by Eve Ensler, Doubt by John Patrick Shanley, and Death of a Salesman by Arthur Miller. The Vagina Monologues follows the format of episodic structure because of its inconsistencies to time and the multiple characters included in its script. Equus, Proof, and Death of a Salesman are examples of non-linear play structure because of the non-specific timeline the characters follow between past and present. The Glass Menagerie, The Cherry Orchard, and Doubt are all examples of linear structure because a majority of their play's content was written within a specified chronological order.; I researched the historical significance of the car, an all-original, 1969 Stingray Corvette Convertible, in order to allow my characters to speak accurately about their knowledge of the car. I also researched how previous playwrights have accomplished their transitions between the world of the play and a character's alternate reality. This was done in order to provide both a believable and a sly transition so the audience is left unaware until the reveal. In the final stages of this process, I polished the script for inclusion in the Theatre UCF Spring 2012 One-Act Festival (OAF). As stated above, the process of writing a play can be taken down many different avenues; however, the format of a play script is something that remains constant throughout. Knowing the history from where plays derive and which movements created such is just as essential. W. B. Worthen's The Wadsworth Anthology of Drama and Living Theatre by Edwin Wilson and Alvin Goldfarb provide an adequate brevity into the history of theatre. The books Playwriting: Brief and Brilliant by Julie Jensen, Playwriting: A practical guide by Noel Greig, The Art and Craft of Playwriting by Jeffrey Hatcher, and The Elements of Playwriting by Louis E. Catron all provide an introduction to the structured format of the play. These books also contain sections on theory explaining how to create a storyline for a play, how to accomplish believable dialogue, and how to defeat writer's block. Jensen, Catron, and Hatcher all go one step further and take their readers through the processes of publications, copyrights, and productions. Those sources help create the play, but during the editing phase, it is wise to acknowledge how others may study and analyze the work.; Through exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques through literature studies and one-on-one consultations with my professors in both departments. There are many different types of writing structures and play movements. Play scripts can be written in linear, non-linear, and episodic structures. Each structure is measured by the action of a script. The action of a script is developed with each action a character completes that moves the script further along towards a conclusion. Linear structuring of a play is when a majority or all the action of a play occurs in a chronological order. The play, therefore, always will be moving forward in time without any disruptions of said timeline. In a linear play, it does not necessarily mean all the action occurs in this chronological sequence. Comparable to Tennessee Williams' The Glass Menagerie, the entire recollection of Tom Wingfield's story is told chronologically in linear structure, despite the fact that this story is from Tom's memory, about an event he is no longer part of at that time. Non-linear structure occurs when the chronological timeline of a play is broken. The play's action constantly moves backwards and forwards through time. This type of play is based on the ideology of the human thought process. As humans, we may not remember the exact order of how things are remembered; these images and events are distorted somehow by our subconscious in order to remember. Thus, a non-linear play erupts based on the infrequencies of a timeline.B.A.
Bachelors
Arts and Humanities
Theatre Studies
54 p.
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Furniss, Beverly. "Stitched in time: a progressive interpretation of embroidery." AUT University, 2009. http://hdl.handle.net/10292/947.
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This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.
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Thorsteinsson, Gisli, Brynjar Olafsson, and Etsuo Yokoyama. "The origin of craft education in Iceland." 名古屋大学大学院教育発達科学研究科 技術・職業教育学研究室, 2009. http://hdl.handle.net/2237/12371.
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Olafsson, Brynjar, and Gisli Thorsteinsson. "Design and Craft Education in Icelandic Schools." 名古屋大学大学院教育発達科学研究科 技術・職業教育学研究室, 2012. http://hdl.handle.net/2237/17030.
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Moon, Barbara Jean. "Craft theory in research on teacher education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0022/NQ51901.pdf.
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Stinchfield, Bryan T. "A THEORY OF ENTREPRENEURIAL WORK: ART, CRAFT, ENGINEERING, BRICOLAGE, AND BROKERAGE." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1967978691&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Mashigoane, Mncedisi Siseko. "Art as craft and politics : the literature of Mongane Wally Serote." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7875.
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Fuhrman, Anne Mary. "The Craft of Portraiture in Eighteenth-Century America." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625718.
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Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
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Kahn, Patricia Hymson. "HOW THE SOCIAL REFORM MOVEMENT IMPACTED HANDIWORK AT HINDMAN SETTLEMENT SCHOOL IN HINDMAN, KENTUCKY DURING 1902-1920." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1047354711.
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Remond, Jaya Marie-Paule. "The Kunstbüchlein: Printed Artists' Manuals and the Transmission of Craft in Renaissance Germany." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11676.
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The dissertation studies sixteenth-century German artists' manuals (Kunstbüchlein), a new kind of book that addresses certain types of artistic practices. The Kunstbüchlein testify to and shape transformations of knowledge in early modern Europe. Disseminating practical knowledge in printed form, they endowed craft know-how with a form of authority until then reserved for the liberal arts. They aimed also to reconcile theoretical and practical knowledge, what Albrecht Dürer (the crucial forerunner to the authors of the Kunstbüchlein) termed respectively Kunst and Brauch. Authors Sebald Beham, Heinrich Voghterr, Heinrich Lautensack, and Erhard Schön sought to provide accessible, useful knowledge. Focused on a limited set of topics, they pretended to be closer to practice and to respond more effectively to the needs of their apprentices than Dürer and others in their publications. In fact, the Kunstbüchlein did not mediate Brauch, but show instead what their authors understood Brauch to be. Emphasizing the hands-on acquisition of knowledge through looking, reading, and doing, the Kunstbüchlein placed the printed image, whether as schematic diagram or finished illustration, at the core of the didactic process.History of Art and Architecture
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Damian, Michelle Rodgers Bradley. "Archaeology through Art: Japanese Vernacular Craft in Late Edo-Period Woodblock Prints." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2738.
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Morton, Jennifer Heather. "Desert voices, pitjantjatjara women's art and craft production in Ernabella, South Australia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22544.pdf.
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Mahlaba, Siphelele Nadia, and K. D. Ige. "Economic development and women empowerment in Zamimpilo art and craft co-operative." Thesis, University of Zululand, 2018. http://hdl.handle.net/10530/1849.
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Theses Submitted to the Department of Sociology in fulfilment of the requirements for the Master’s Degree in Sociology in the Faculty of Arts at the University of Zululand, 2018.Development agencies, non-government Organizations (NGOs) and government organizations around the world aim for the betterment of women in all spheres of their lives. Empowerment has been considered the main focal point towards the achievement of the wellbeing of women. The study was about cooperatives and women empowerment. It investigated the extent to which participation, empowerment, capacitation and benefits of membership contribute in enabling cooperatives to empower women. This study applied the Capability Approach (CA) in an attempt to understand the need and importance of capabilities to women in a cooperative. The quality of life of an individual is analysed in terms of the core concepts of functionings and capability, thus the CA focuses directly on the quality of life that individuals are actually able to achieve. The Capability Approach proposed that the most vital thing to deliberate when valuing well-being is what people are actually able to do. Capacitation to disadvantaged people is very important in that it ensures services and assistants directly meet their needs. Participatory planning can be regarded as an instrument for identifying the needs of all persons within a community, a way of constructing harmony, and means of empowering deprived or marginalised groups. Participatory development has created the need that there should be inclusion of everyone concerned in the decision making that enables the utilization of all ideas and experiences especially of the poor in rural communities and that they should have influence in the decision making process. The study hypothesized that the perceived level of participation; empowerment and capacitation will determine the benefit of membership in a cooperative. The survey was conducted using a Five-Level Likert scale to decipher respondents’ perceptions of level of participation, empowerment, capacitation, and perceived benefits. In the beginning of analysis, responses (N=110) were reduced using Principal Components Analysis (PCA) to determine how questionnaire items contributed to variables under consideration, variables extracted were correlated and regressed. A linear regression analysis was used to describe how a benefit of membership mediates the relationship between participation, empowerment and capacitation. iii The results showed that members’ perceived levels of empowerment mediate their Perceived Benefits of membership (PERBEME). This shows how benefits of membership in a cooperative are determined and empowerment experienced. Cooperatives have a potential of empowering women and that is achieved through democratic operation, where members equally participate in the daily business. The findings showed a correlation between independent and dependent variables. The findings further demonstrated that capacitation, empowerment and participation, influence change on the benefits of membership in a co-operative.
National Research Foundation (NRF)
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Gamble, Jeanne. "Tacit knowledge in craft pedagogy : a sociological analysis." Doctoral thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/14963.
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Bibliography: leaves 201-218.This thesis explores the relationship between tacit knowledge and a pedagogy that centres round a master-apprentice relationship, in order to locate tacit craft knowledge within a broader taxonomy of knowledge forms and their transmission practices. By its own definition tacit knowledge constitutes a unique class of phenomenon, namely that which is not presentable in language. It is thus a difficult concept to grasp and an even more difficult concept to represent in words. Evidence from a single qualitative case study on craft transmission practices m the institutional training centre of the Furniture Industry Training Board (known as the 'trade school') in Cape Town is presented and analysed in accordance with a conceptual scheme that derives from the earlier work of Basil Bernstein. Against the background of this analysis of craft pedagogy, the nature of the 'tacit' is explored through a detailed analysis of the evaluative requirements of the final trade test. Thereafter a conceptual model is developed to provide a theoretical explanation for the form that tacit craft knowledge takes. The findings show that strong external 'classification' and 'framing' relations (terms developed by Bernstein) constitute the trade school as a specialised context that is temporarily insulated from the work practices of mass production factories. It is a particular relation between work organisation, tool and materials usage, that retains the traditional craft or trade of cabinet making as the 'identity' recognised as legitimate in the trade school. Internal 'framing' displays two modalities. While strong macro pacing that resembles the daily routine in a factory is maintained throughout the five stages of the apprenticeship curriculum, very weak initial framing over selection, sequencing and macro pacing allows apprentices to develop their own rhythms of work and to make their own decisions about task realisation. However, just before the end of the final stage and before apprentices take their final trade test framing over selection, sequencing and pacing is strengthened and made explicit. Evaluation criteria are very strongly framed in all stages of the apprenticeship curriculum. In terms of the regulative discourse of the trade school the master-apprentice relation is undoubtedly an asymmetrical relation that is mediated through a surrogate kinship role taken on by the master-trainer to exercise a form of positional control. The qualities of character and conduct that are transmitted are those of the autonomous artisan representing a collective craft tradition. The outcome of a strongly classified and framed craft pedagogy that centres round a master/apprentice relationship is found to be an external performance that is grounded or embedded in an internally held competence. Such internalised competence refers to a capacity for visualisation that acts as a proxy for a relationship between 'parts' and 'whole' that cannot be rendered in words. This relationship is held in the body and constitutes what can be called the 'tacit' in craft. The identity of the craft worker or 'tradesman' rests crucially on this combination of external performance and internalised time-space relation. Given this understanding of craft it becomes possible to describe craft as a restricted form of context independent 'knowledge' rather than merely as 'skill'. The conceptual model that is developed in the later part of the thesis locates craft as a form of knowledge that is independent of context in the sense that all craft knowledge realises an order of relation between the features of the object being made that is given by a particular embodied principle of arrangement. It is on this basis that craft takes its place in a systematic taxonomy of knowledge forms, which, although functioning at a fairly high level of abstraction, is nevertheless consistent with the empirical findings of the study. Implications of thesis findings and conclusions for an understanding of knowledge and pedagogy more generally are presented in the final chapter.
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Mak, Wai-man Stephanie. "Chinese arts and craft complex in Ladder Street, Sheung Wan." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945178.
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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.
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Alstorp, Paulina. "Ensam är stark!?" Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4629.
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I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for. Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness? I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas.Har tagit bort bilder av upphovsrättsliga skäl
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Gleason, Caitlin. "Maintenance, Craft and Prototype: Andrea Zittel’s Technologies for Living." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11993.
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ix, 77 p. : ill. (some col.)The contemporary artistic practice of Andrea Zittel incorporates a variety of working methods and mediums in making objects that slip easily from one context to another. Zittel's artworks, which range from textiles to found objects, domestic implements and architectural structures, are simultaneously featured in museum collections and used functionally in everyday life. Focusing on her artistic endeavors in New York in 1990s, this study investigates the slippery nature of Zittel's work through the lens of the equally slippery concept of technology. In order to interrogate such intersections, I will examine three of Zittel's projects: Repair Work (1991), A-Z Personal Uniforms (1991-present) and the A-Z Escape Vehicle (1996). These cases exemplify how Zittel's engagement with technology creates a dialogue between her work and artistic and historical movements of the past, while also engaging and critiquing contemporary culture.
Committee in charge: Albert Narath, Chairperson; Kate Mondloch, Member; Allison Carruth, Member
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Yan, Keyu. "Craft or Avant-garde? Contemporary Chinese Fiber Art at the Thirteenth Lausanne International Tapestry Biennale." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595538262296012.
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Williams, Tiffany N. "Erudition and Craft: A Proposed Pedagogy of Architectural Education." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731600.
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Petrosky, Natalie E. "Little Moving Windows." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.
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Capps, Jonathan Michael. "Transcending Traditions with Glass Orbs in Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469127095.
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